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A Streetcar Named Desire Analysis of scenes 4, 8, 11:

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A Streetcar Named Desire Analysis of scenes 4, 8, 11: A Streetcar Named Desire (both text and film) isn't split up into acts, but instead is a chronological sequence of episodes occurring between the months of May and September. Within these episodes beats a conflict and reconciliation rhythm, involving the win and lose of Stella's love. Scene four begins with a vendor shouting something that sounds similar to Stanley's 'heaven splitting' howl 'STELLLAHHHHH!', subtlety reminding us of the events of the night before. As you can recall, after hitting her, Stanley wins back Stella's love by offering her 'relentless' sex. By connecting the two scenes, Kazan suggests a continuation in character relationships. Therefore, at the start of Scene four, Stanley has possession of Stella's love over Blanche. This is echoed by Stella's response 'You should stop taking it for granted that I am in something I want to get out of' to Blanche when she proposes an 'escape' from Stanley's apartment. ...read more.


This transports us into the third dimension, and more importantly Stella into the hospital. Leaving Blanche vulnerably alone in the apartment to ripen for the rape scene, using the sweet 'Varsouviana' melody to intensify the suspense. Stella now has this added option of neglecting both Blanche and Stanley, to settle with her baby. Deviating from the original text, Kazan plays-out this scenario in the closing moments before the curtain drops. Stella looks on to her sister being carried away in a hearse like vehicle, engulfed by the activity on the streets as it makes its turn, only to find herself stranded in the middle of the frame. Nervously she throws herself left and right, unsure where to go, and finally decides to take the baby and flee upstairs to Eunice's, up to the safety of the 'white columns'. She then promises that she's never going back in there again'. Appropriately ending with a deafening mating call from Stanley 'STELLLAHHHHH!' ...read more.


From here 'her future is mapped out for her' By the ending scene, Blanche has personified an 'artificial' 'Paper-doll', replaceable as a broken 'mirror'. 'Her satin robe follows the sculptural lines of her body', no longer representing the superior aristocratic south but a rotting tombstone swallowed-up by the 'relentless' vines of the 'jungle'. Thus, there is no longer a need for her protective 'nails' (claws) to fend off predators. Specified specifically in the stage directions, William's wanted 'transparent walls' and the 'doors' to be kept open all summer, blurring the distinction between the Kowalskis' flat and the life in the city, the 'jungle'. Thus the audience is no longer just watching Blanche crumble, but actually experiencing it. Harrowing as it already is, Kazan takes a step further, and has Blanche portrayed as almost possessed being, leaving us horrified at what could of happened to 'her victims'. Thankfully here ends Blanche's torment from the nauseating intervals of the 'Varsouviana'. Now she can quietly live in the shadows of the asylum, where she is 'nobodies problem', and her existence is denied. ...read more.

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